Music in Sport and Exercise : An Update

on Research and Application

By U.S. Sports Academy in Sports Exercise Science, Sports Studies and Sports Psychology
July 7, 2008
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Abstract
Submitted by: Costas Karageorghis and David-Lee Priest - Brunel University
Abstract
In spring 1999, almost a decade ago, the first author published in The Sport Journal an
article titled Music in Sport and Exercise: Theory and Practice. The present articles
origins are in that earlier work and the first authors research while a masters student at the
United States Sports Academy in 199192. To a greater degree than in the original 1999
article, this article focuses on the applied aspects of music in sport and exercise. Moreover,
it highlights some new research trends emanating not only from our own publications, but
also from the work of other prominent researchers in the field. The content is oriented
primarily towards the needs of athletes and coaches.
U.S. Sports Academy
Submitted by: Costas Karageorghis and David-Lee Priest Brunel University
Abstract
In spring 1999, almost a decade ago, the first author published in The Sport Journal an
article titled Music in Sport and Exercise: Theory and Practice. The present articles
origins are in that earlier work and the first authors research while a masters student at the
United States Sports Academy in 199192. To a greater degree than in the original 1999
article, this article focuses on the applied aspects of music in sport and exercise. Moreover,
it highlights some new research trends emanating not only from our own publications, but
also from the work of other prominent researchers in the field. The content is oriented
primarily towards the needs of athletes and coaches.
Music in Sport and Exercise: An Update on Research and Application
With the banning of music by the organizers of the 2007 New York Marathon making
global headlines, the potentially powerful effects of music on the human psyche were
brought into sharp focus. In fact, music was banned from the New York Marathon as part of

the wider USA Track & Field ban on tactical communications between runners and their
coaches. The marathon committee upheld this ban, which is often otherwise overlooked,
justifying its action in terms of safety.
The response to the ban was emphatic. Hundreds of runners flouted the new regulation and
risked disqualification from the eventsuch was their desire to run to the beat. Experience
at other races around the world confirms the precedent set in New York; try to separate
athletes from their music at your peril! But why is music so pivotal to runners and to sports
people from a wide variety of disciplines?
How Music Wields an Effect
In the hotbed of competition, where athletes are often very closely matched in ability, music
has the potential to elicit a small but significant effect on performance (Karageorghis &
Terry, 1997). Music also provides an ideal accompaniment for training. Scientific inquiry
has revealed five key ways in which music can influence preparation and competitive
performances: dissociation, arousal regulation, synchronization, acquisition of motor skills,
and attainment of flow.
Dissociation
During submaximal exercise, music can narrow attention, in turn diverting the mind from
sensations of fatigue. This diversionary technique, known to psychologists as dissociation,
lowers perceptions of effort. Effective dissociation can promote a positive mood state,
turning the attention away from thoughts of physiological sensations of fatigue. More
specifically, positive aspects of mood such as vigor and happiness become heightened,
while negative aspects such as tension, depression, and anger are assuaged (Bishop,
Karageorghis, & Loizou, 2007). This effect holds for low and moderate exercise intensities
only; at high intensities, perceptions of fatigue override the impact of music, because
attentional processes are dominated by physiological feedback, for example respiration rate
and blood lactate accumulation.
Research shows that the dissociation effect results in a 10% reduction in perceived exertion
during treadmill running at moderate intensity (Karageorghis & Terry, 1999; Nethery, 2002;
Szmedra & Bacharach, 1998). Although music does not reduce the perception of effort
during high intensity work, it does improve the experience thereof: It makes hard training
seem more like fun, by shaping how the mind interprets symptoms of fatigue. While
running on a treadmill at 85% of aerobic capacity (VO2max), listening to music will not
make the task seem easier in terms of information that the muscles and vital organs send the
brain. Nevertheless, the runner is likely to find the experience more pleasurable. The
bottom line is that during a hard session, music has limited power to influence what the
athlete feels, but it does have considerable leverage on how the athlete feels.
Arousal Regulation
Music alters emotional and physiological arousal and can therefore be used prior to
competition or training as a stimulant, or as a sedative to calm up or anxious feelings

(Bishop et al., 2007). Music thus provides arousal regulation fostering an optimal mindset.
Most athletes use loud, upbeat music to psych up, but softer selections can help to psych
down, as well. An example of the latter is two-time Olympic gold medalist Dame Kelly
Holmess use of soulful ballads by Alicia Keys (e.g., Fallin and Killing Me Softly) in
her pre-event routine at the Athens Games of 2004. While the physiological processes tend
to react sympathetically to musics rhythmical components, it is often lyrics or extramusical
associations that make an impact on the emotions. Ostensibly, fast tempi are associated
with higher arousal levels than slow tempi.
Karageorghis and Lee (2001) examined the interactive effects of music and imagery on an
isometric muscular endurance task which required participants to hold dumbbells in a
cruciform position for as long as possible. Males held 15% of their body weight and
females held 5% of their body weight. The authors found that the combination of music and
imagery, when compared to imagery only, music only, or a control condition, enhanced
muscular endurance (see Figure 1), although it did not appear to enhance the potency of the
imagery. The main implication of the study was that employing imagery to a backdrop of
music may be a useful performance-enhancement strategy that can be integrated in a preevent routine.

Figure 1. Bar chart illustrating mean scores (+ 1 SD) for isometric muscular endurance
under conditions of imagery only (A), motivational music (B), motivational music and
imagery (C), and a no music/imagery control (D).
Synchronization
Research has consistently shown that the synchronization of music with repetitive exercise
is associated with increased levels of work output. This applies to such activities as rowing,
cycling, cross-country skiing, and running. Musical tempo can regulate movement and thus
prolong performance. Synchronizing movements with music also enables athletes to
perform more efficiently, again resulting in greater endurance. In one recent study,
participants who cycled in time to music found that they required 7% less oxygen to do the
same work as compared to cycling with background (asynchronous) music (Bacon, Myers,
& Karageorghis, 2008). The implication is that music provides temporal cues that have the
potential to make athletes energy use more efficient.
The celebrated Ethiopian distance runner Haile Gebrselassie is famous for setting world
records running in time to the rhythmical pop song Scatman. He selected this song
because the tempo perfectly matched his target stride rate, a very important consideration
for a distance runner whose aim is to establish a steady, efficient cadence. The
synchronization effect in running was demonstrated in an experimental setting by Simpson
and Karageorghis (2006), who found that motivational synchronous music improved
running speed by ~.5 s in a 400-m sprint, compared to a no-music control condition (see
Figure 2).

Figure 2. Mean 400 m times for synchronous motivational music, synchronous oudeterous
music, and a no-music control.
Acquisition of Motor Skills
Music can impact positively on the acquisition of motor skills. Think back to elementary
school days and your initial physical education lessons, which were probably set to music.
Music-accompanied dance and play created opportunities to explore different planes of
motion and improve coordination. Scientific studies have shown that the application of
purposefully selected music can have a positive effect on stylistic movement in sport
(Chen, 1985; Spilthoorn, 1986), although there has been no recent research to build upon
initial findings.
There are three plausible explanations for the enhancement of skill acquisition through
music. First, music replicates forms of bodily rhythm and many aspects of human
locomotion. Hence, music can transport the body through effective movement patterns, the
body providing an apparent visual analogue of the sound. Second, the lyrics from wellchosen music can reinforce essential aspects of a sporting technique. For instance, in track
and field, the track Push It (by Salt-n-Pepa) is ideal for reinforcing the idea that the shot
should be put, not thrown; throwing the shot is the most common technical error. Third,
music makes the learning environment more fun, increasing players intrinsic motivation to
master key skills.
Attainment of Flow
The logical implication of study findings concerning musics effects on motivational states
is that music may help in the attainment of flow, the zenith of intrinsic motivation. Recent
research in sports settings has indeed found that music promotes flow states. Using a
single-subject, multiple-baselines design, Pates, Karageorghis, Fryer, and Maynard (2003)
examined the effects of pre-task music on flow states and netball shooting performance of
three collegiate players. Two participants reported an increase in their perception of flow,
and all three showed considerable improvement in shooting performance. The researchers
concluded that interventions including self-selected music and imagery could enhance
athletic performance by triggering emotions and cognitions associated with flow.
Karageorghis and Deeth (2002), furthermore, investigated the effects of motivational music
on flow during a multistage fitness test. The multiple dimensions of the flow experience
were represented by the factors incorporated in the Flow State Scale (FSS) developed by
Jackson and Marsh (1996). When compared to oudeterous music and a no-music control
condition, motivational music led to increases in several FSS factors.
Selecting Music for Sport and Exercise
Type of Activity

An athlete searching for music to incorporate in training and competition should start by
considering the context in which he or she will operate (Karageorghis, Priest, Terry,
Chatzisarantis, & Lane, 2006). What type of activity is being undertaken? How does that
activity affect other athletes or exercisers? What is the desired outcome of the session?
What music-playing facilities are available? Some activities lend themselves particularly
well to musical accompaniment, for example those that are repetitive in nature: warm-ups,
weight training, circuit training, stretching, and the like. In each case, the athlete should
make selections (from a list of preferred tracks) that have a rhythm and tempo that match
the type of activity to be undertaken. To assess the motivational qualities of particular
music, the Brunel Music Rating Inventory (BMRI) may be used (Karageorghis, Terry, &
Lane, 1999), as may its derivative, the BMRI-2 (Karageorghis et al., 2006).
One of the latest developments in the music-in-sport field is Londons Run to the Beat halfmarathon, an event that will feature scientifically selected motivational music performed
live by musicians positioned along the route (Run to the Beat: Londons Half-Marathon,
n.d.). Our research team has been instrumental in managing the music policy for Run to the
Beat and in ensuring that runners are delivered music that is appropriate to their preferences
and sociocultural backgrounds. We have gathered relevant information from the halfmarathons website and used it in prescribing musical selections contoured to the events
motivational and physiological demands.
Intensity of Activity
An athlete or exerciser whose goal during warm-up is elevating the heart rate to 120 beats
per minute should select accompanying music that has a tempo in the range of 80130
beats per minute. Successive tracks should create a gradual rise in music tempo to match
the intended gradual increase in heart rate. Moreover, segments of music can be tailored to
various components of training, so that, for example, work time and recovery time are
punctuated by music that is alternately fast and loud or slow and soft. This approach is
especially well suited to highly structured sessions such as circuit or interval training. The
authors have used this technique with collegiate athletes engaged in a tough weekly circuit
training session, and the upshot has been a 20% improvement in attendance.
Our recent research has uncovered the tendency among athletes and exercisers to
coordinate bursts of effort with those specific segments of a musical track they find to be
especially motivating. We refer to the phenomenon as segmentation (Priest &
Karageorghis, 2008). The segmentation effect is particularly strong if the individual knows
the musical track very well and can anticipate the flow of the music. It is also beneficial to
match the tempo of music with the intensity of the workout. For example, when cycling at
around 70% of ones aerobic capacity, mid-tempo music (115125 beats per minute) is
more effective than faster music (135145 beats per minute) (Karageorghis, Jones, & Low,
2006; Karageorghis, Jones, & Stuart, 2008).
Delivery of Music
Coaches and athletes must choose how selected tracks will be delivered before or during
training or competition. If others are training nearby and might be disturbed by ones music,

it should be delivered via an MP3 player. Music intended to enhance group cohesion or
inspire a group of athletes is best delivered with a portable hi-fi system or stadium public
address system. If distraction is an important consideration, the volume at which music is
played should be set quite high, but not high enough to cause discomfort or leave a ringing
in the ears. Indeed, sound at a volume above 75 dB delivered during exercisewhen blood
pressure in the ear canal is elevatedcan cause minor temporary hearing loss (Alessio &
Hutchinson, 1991).
Selection Procedure
The researchers suggest accompanying training activities with music, to enable athletes to
tap into the power of sound. To start, assemble a wide selection of familiar tracks that meet
the following six criteria: (a) strong, energizing rhythm; (b) positive lyrics having
associations with movement (e.g., Body Groove by the Architects Ft. Nana); (c) rhythmic
pattern well matched to movement patterns of the athletic activity; (d) uplifting melodies
and harmonies (combinations of notes); (e) associations with sport, exercise, triumph, or
overcoming adversity; and (f) a musical style or idiom suited to an athletes taste and
cultural upbringing. Choose tracks with different tempi, to coincide with alternate low-,
medium-, and high-intensity training.
A further consideration is variety among selections. A study we published of data from a
major fitness chain in the United Kingdom (Priest, Karageorghis, & Sharp, 2004) indicated
that variety in the selections was paramount. Table 1 presents titles of motivational tracks
suitable for different components of a single training session with a specific individual in
mind.
Table 1
Example Motivational Music for Training-Session Components of Different Exercise
Intensities
Workout Component
Title
Artist(s)
Tempo, in Beats per Minute
Mental preparation
Umbrella
Rihanna Ft. Jay Zee

89
Warm-up activity
Gettin Jiggy With It
Will Smith
108
Stretching
Lifted
The Lighthouse Family
98
Strength component
Funky Cold Medina
Tone Loc
118
Endurance component
Rockafeller Skank
(Funk
Soul Brother)
Fatboy Slim
153
Warm-down activity
Whatta Man
Salt-n-Pepa
88
Conclusion

We have established that there are many ways in which music can be applied to both
training and competition. The effects of carefully selected music are both quantifiable and
meaningful. As Paula Radcliffe, the world recordholding marathoner, has said, I put
together a playlist and listen to it during the run-in. It helps psych me up and reminds me of
times in the build-up when Ive worked really hard, or felt good. With the right music, I do
a much harder workout.
The findings we have discussed lead to the possibility that the use of music during athletic
performance may yield long-term benefits such as exercise adherence and heightened
sports performance, through a superior quantity and quality of training. Although many
athletes today already use music, they often approach its use in quite a haphazard manner.
We hope that through applying the principles outlined in this article, athletes and coaches
will be able to harness the stimulative, sedative, and work-enhancing effects of music with
greater precision.
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